We also hardwired the primary iPad used for switching using Apple dongles. To help prevent bottlenecks over the local network, we lowered the resolution and bitrate on preview video feeds.
The only limitation is network bandwidth.Īdding more cameras was an untested challenge. As a result, the Switcher Studio team produced a special version of Switcher that allows unlimited sources.
One of the first requirements was moving beyond the four-camera setup. A key part of testing has been defining workflow using mobile devices while meeting WWE’s high standard of quality. The goal? To see if using Switcher Studio with a few iPhones and iPads can achieve TV-style results. Now the WWE is experimenting with a new format for the some 300 events it hosts that are currently not captured on video.
Everyone knows precisely what to do and how to get it done.” “We travel everything from the lighting, PA, screens, backstage sets, television production facilities, generators and satellite transmission facilities, down to catering. Our shows begins to load-in typically around 4:00am and everything must be up and ready for production by 2:00pm,” explained Nick Smith, WWE’s director of remote IT and broadcast engineering. “Putting this show on in one day is no small feat. That doesn’t include the hundreds of arena shows that the organization books in venues around the world. Since its inception, it has amassed a global audience of over 36 million.Įach year, WWE televises over 100 events via its SmackDown, WWE Raw and Pay-Per-View events. World Wrestling Entertainment (WWE) is an entertainment company and the largest professional wrestling organization in the world. Lots of equipment, lots of people and lots of time. Creating TV style productions is a big operation.